Kyzer Sosa
314 posts
Apr 12, 2010
11:05 AM
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someone, i think? mentioned in another thread... hold on...congaron, mentioned an impedance transformer for use with an SM57. Forgive my ignorance, but.. please educate me without me having to google wtf youre talking about? i assume its from low to high impedance or vice versa? and what benefits does this give anyone, and is it for a prticular sound or amp? thanks in advance...
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Kyzer's Travels
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toddlgreene
1192 posts
Apr 12, 2010
11:07 AM
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Yes, The 57 is low impedance, and you want a High Impedance signal going into an amp. Otherwise, you'd have a huge gain cut. So, you'd need a low-to-high transformer.
If you had the 57 or any other low-z mic into a p.a. with a low-z input, this wouldn't be necessary.
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Todd L Greene. V.P.
Last Edited by on Apr 12, 2010 11:08 AM
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HarpNinja
374 posts
Apr 12, 2010
11:11 AM
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You need this...http://www.audixusa.com/docs/products/T50k.shtml
It gets bonus points from me for being a rat tail and not a plug.
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Kyzer Sosa
315 posts
Apr 12, 2010
11:13 AM
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thanks... I have a really shitty amp. i just bought it to be loud enough to play with my boys really, and have never really liked the way it sounded. Nor was it really loud enough in conjunction with their monster amps...Its a Fender Frontman 15. I boutght it brand new for $35.
HOWEVER...when we started contemplating playing for an audience, the host bought a PA. I played thru it with low impedance cables, (or so they said) and it sounded freakin great thru the PA. its a nice PA, entirely possible it has low-z inputs. cant say if thats the case, but the PA definitely beats the hell outta my lil amp.
i suppose ill need one should i upgrade my amp huh? cause i love the hell out of the mic.
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Kyzer's Travels
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toddlgreene
1193 posts
Apr 12, 2010
11:15 AM
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Nice one, Mike-you could run the xlr cable from the mic to that pigtail and run it thru the amp's handle to avoid pulling it out, instead of either adding to the length of the mic or sticking out of a pedal/amp with the rigid type.
EDIT:Yes, Kyzer-if you're gonna play the 57 or any other low-z mic thru an amp you need one, or you're seriously cheating yourself out of plenty available volume.
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Todd L Greene. V.P.
Last Edited by on Apr 13, 2010 11:46 AM
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shanester
164 posts
Apr 12, 2010
11:15 AM
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Yeah, I recently got an impedance transormer, about 20 bucks.
Most mics put out a relatively low signal compared to say electric guitars.
The low z format as it is called for mics, can travel through longer cables with less signal loss.
The high z (electric guitar) is strong signal, but loses appreciable signal over lengths more than about 20'.
The transformer gives the mic a way stronger signal to the amp, resulting in a fuller, less hum sound, lower volume setting on the amp.
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There is nowhere to go and nothing to find, only something to create.
http://www.youtube.com/1shanester
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Kyzer Sosa
316 posts
Apr 12, 2010
11:23 AM
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sigh... i wish i had about 3 grand to spend on toys... id never ask for anything else. really, i just want a setup thats gonna be versatile enough for small to medium venues, and be what its supposed to be. i dont want to get used to the way it sounds off my setup now. ugh... i got the mic tho... and that bulletizer on the other thread looks pretty badass.
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Kyzer's Travels
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harpdude61
83 posts
Apr 12, 2010
11:44 AM
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Okay, what I bought for around $6 on Musicians Friend must simply be an adapter XLR to 1/4"...so I need a transformer...I think...lol
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toddlgreene
1197 posts
Apr 12, 2010
11:57 AM
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At that price? Yeah, unless you got a great deal! I've never seen one for less than 15 bucks or so. It'll be clearly labeled if it is a transformer.
http://www.guitarcenter.com/Search/Default.aspx?internal=1&src=impedance+transformer
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Todd L Greene. V.P.
Last Edited by on Apr 12, 2010 12:01 PM
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shanester
166 posts
Apr 12, 2010
12:02 PM
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Yeah, with my mic I had to get the adapter too, it was 6 bucks, to adapt my 1/4 mic output to the xlr input that the transformer had.
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There is nowhere to go and nothing to find, only something to create.
http://www.youtube.com/1shanester
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congaron
788 posts
Apr 12, 2010
12:23 PM
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What they all said..lol.
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congaron
789 posts
Apr 12, 2010
12:24 PM
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Oh, and some guitar amps, like the valve junior head actually respond pretty well without the transformer if you can live with a little less bass and you are micing the amp. Best to use one though if you can.
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Tuckster
467 posts
Apr 12, 2010
1:16 PM
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@shanester--"..., to adapt my 1/4 mic output to the xlr input that the transformer had."
This seems wrong. If it's i/4",it's already hiZ and doesn't need a transformer. I don't understand what you're doing.
Last Edited by on Apr 12, 2010 1:17 PM
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congaron
794 posts
Apr 12, 2010
1:25 PM
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there are some inexpensive vocal mics with 1/4 inch cords attached also.
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shanester
168 posts
Apr 12, 2010
3:24 PM
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Yup, I've got a cheap peavey clone of a sm58 that a friend gave me, it is low Z with a 1/4"
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There is nowhere to go and nothing to find, only something to create.
http://www.youtube.com/1shanester
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Mojokane
9 posts
Apr 12, 2010
5:55 PM
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When you say, Low to High Z transformer...do you mean the adaptor. Which, if so, can wear out a 1/4" jack on your amp if you don't secure it well enough. As they are about 6 " long and cumbersome when used at the amp end.
This is refering to the type which attaches to a Low Z mic (57, or any other low Z mic)and then sends a Hi Z signal to the amp?
These are a lot easier than installing a little piggy back transformer, as in low Z cm's..., inside the shell.
My question, does anyone know how to wire the Calrad DT51's, with transformer? I have yet to succeed in soldering the right connection. I have a bunch, and have been wanting to sell em. But since times are tight, and I hear they're pretty good for tone(?).
I have reconsidered, and may keep them. Providing I can learn how to solder them correctly. The wires are so small and delicate. I'm holding off until I get it right. They are not the same CM's. (kevincanwait@aol.com)...let me know if you have the trick. Or if you're interested in buying em up. I have 6 of em...I have plenty of CM's, CR's and Crystals, so I'd welcome a decent price for these, if they're worth it.
They're brand new.
Thanks a ton,
Kevin
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Mojokane
10 posts
Apr 12, 2010
5:57 PM
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Hey, there is always Greg Huemann. (blowsmeaway.com)
He'll attach an internal transformer to your 57, or low Z mic, and that way you can avoid the hassle all together. He's amazing. And reasonably priced.
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Tuckster
468 posts
Apr 12, 2010
6:09 PM
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Unless it's a stereo 1/4", I don't see how that Peavey can be low impedence.
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Greg Heumann
388 posts
Apr 12, 2010
6:14 PM
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A low impedance mic with a 1/4" male plug (not the stereo kind)... Never seen one.
Note that impedance matching isn't for volume per se. It is because a microphone wants to "see" a certain load to perform as spec'd. (And amplifiers are "tuned" for the input impedance too - tube and transistor circuits are sensitive to this. )
Just like revving your car in neutral, playing a low-Z mic into a high Z load doesn't load it enough. Playing a high-Z mic into a low impedance input is like starting out in 4th gear - there is a big load on the element and it will suck tone like crazy.
More importantly, the wiring system for low impedance mics, cables and amplifiers (like PA's) is called "balanced". This has the signal + and - on separate wires from the cable's "shield" which is the only thing that gets grounded. The signal + and - "float" on pins 2 and 3 of the XLR connector; ground is on the shield AND Pin 1. By contrast almost all high impedance systems (like guitars and amps) are wired in what is called an "unbalanced" configuration - where there is one signal + wire inside the shield, and the shield itself is the signal - - that is, signal - and ground are one and the same. If you have a cable that takes XLR at one end and has 1/4" at the other, it uses the shield for signal minus, and is connected ONLY to pin 2 OR pin 3 of the XLR connector - the other is not connected to anything. So you get about half of the mic's signal AND an impedance mismatch. That cable was made for HIGH impedance mics like a BluesBlaster, or Shure 545 configured for High Z. Just because you can plug an SM57 into an amp with it doesn't mean it is right.
If you have an XLR-to-1/4 adapter (not an impedance matching transformer) and the 1/4" is not the stereo kind (called "Tip-Ring-Sleeve") then it is committing the same sin as the cable. Balanced wiring CAN be done using TRS 1/4" jacks, but I have never seen this used in "our circles." Maybe in the recording studio.
They don't teach this in grammar school. If you don't get it, don't worry - it confuses everyone. I spend a lot of time with my customers when they buy a mic from me to make sure their mic, cable or wireless system and amp are all properly matched.
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/Greg
BlowsMeAway Productions
BlueState - my band
Bluestate on iTunes
Last Edited by on Apr 12, 2010 6:27 PM
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shanester
170 posts
Apr 12, 2010
6:53 PM
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This is what I'm using, note the 1/4" option.
http://www.instrumentpro.com/P-PEA0577800.html
I just assumed it was low impedance but I may be wrong, and I haven't encountered any specs mentioning its impedance yet.
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There is nowhere to go and nothing to find, only something to create.
http://www.youtube.com/1shanester
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Tuckster
469 posts
Apr 12, 2010
7:28 PM
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That's really strange. Unless they're putting a Xformer inside for the 1/4",it's never going to work properly into an amp,-- or a PA for that matter.
Last Edited by on Apr 12, 2010 7:57 PM
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congaron
805 posts
Apr 12, 2010
8:15 PM
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Being unbalanced won't make a low Z mic into a high one. I have seen plenty of cheap low Z dynamic mics over the years with 1/4 inch unbalanced male connectors on a 10 or 15 ft cord. When I worked as a Radio shack in the late 70's, there was a dynamic mic like that. There are still cheap mics made that way to plug into small karaoke machines, etc. Balanced vs unbalanced can be either high or low z, depending on the element itself.
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congaron
806 posts
Apr 12, 2010
8:18 PM
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For our purposes, like Gregg said, the most common configuration for a low Z mic is a 3 pin balanced connector, and it could in fact be a trs if you had some good reason to do it..can't really think of one off hand.
I have a couple of low Z mics made from Cb radio mics that i made unbalanced ...like they were inside the shell already...just to use a guitar cord or very short cord to my wireless body pack.
Balanced lines are designed to reduce interference by running the signal in both directions (AC, which is also how it runs on an unbalanced line, but on the outside in one direction) causing any interference on the line to cancel and allowing the grounded outside mesh to shield the lines inside even further. Low Z lines can go much further than high z lines without picking up hum and buzzing from outside electrical sources.
Last Edited by on Apr 13, 2010 2:37 PM
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shanester
171 posts
Apr 12, 2010
8:51 PM
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I don't know if it works properly but it works. It works in a fender silverface champ, a cheap fender solid state and a little pignose, much louder with the transformer than without.
The mic was a gift or I probably wouldn't have one at all, ignorance is bliss!.
I manage to get workable sounds out of it, dream of using the champ and its tubiness, but use the solid state at the jams fairly clean because it seems to be my most stable way to play at the volumes in the jam.
I may try to use one of their nice mics with the PA next time just to get some frame of reference.
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There is nowhere to go and nothing to find, only something to create.
http://www.youtube.com/1shanester
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congaron
807 posts
Apr 12, 2010
9:02 PM
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Here's an excellent treatment of balanced vs unbalanced...why and what, etc. It is unrelated to impedance.
http://www.prosoundweb.com/article/unbalanced_vs_balanced_lines/
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congaron
808 posts
Apr 12, 2010
9:07 PM
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Here's one on impedance...note the italicized sentence "...separate issue not to be confused with impedance" when the discussion begins to address balanced lines. It also describes how the two interact over long lines....generally longer than we are dealing with here. If you've ever wondered about wh y you need a Di box to get a harp mic or guitar into a PA...now you know.
http://www.whirlwindusa.com/tech03.html
Last Edited by on Apr 12, 2010 9:08 PM
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Tuckster
471 posts
Apr 12, 2010
9:10 PM
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Man,that's not very fair to the buyer to wire it up 1/4" sans transformer. Cheap for sure. You should find a big difference thru a proper vocal mic into the PA-i.e. XLR to XLR.
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Tuckster
472 posts
Apr 12, 2010
9:23 PM
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So this gets me wondering: are all low impedence mic elements inherently "balanced" output? Greg,I hope you're reading. Can you have a low Z 2 conductor?
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5F6H
64 posts
Apr 13, 2010
9:28 AM
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"Can you have a low Z 2 conductor?" Yes, but they're not very common these days for "professional" use, see EV 606, even Shure CMs were made in lo-Z. Lo-Z mics are normally designed for a balanced XLR connection nowadays, sometimes balanced 1/4" TRS, even DIN connectors in the old-ish days. But sometimes you'll see budget Karaoke mics that are lo-Z and terminate in a mono 1/4" jack.
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Tuckster
474 posts
Apr 13, 2010
10:21 AM
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Thanks. 5F6H--OT- I know your handle is some Fender circuit design. Where can I find info on what all those circuit codes mean. I see them being referred to all the time,but I have no idea what they really sound like.
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congaron
814 posts
Apr 13, 2010
10:26 AM
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"So this gets me wondering: are all low impedence mic elements inherently "balanced" output? Greg,I hope you're reading. Can you have a low Z 2 conductor? "
I answered this question. I also gave two links.
The links exp[lain in detail the nature of a balanced line versus an unbalanced one. Impedance is a characteristic of the mic, Balanced versus unbalanced is how you get to the preamp and a characteristic of the wiring used to do that. They do interact over longer distances, but they are separate issues.
Sending a mic signal takes two wires. Adding a third is for elimination of ground loops and other interference over longer runs. Short cables like guitar chords work fine for the distances we encounter on a stage. Unbalancing a low z mic to use a guitar chord will not reduce its signal strength or affect its impedance, only unbalance it. It may work okay in an amp like a valve junior. But less okay in the newer versions where the input impedance has been raised to 1 mohm. The links explain all this.
Just buy a mic from gregg and plug it in and play the thing.
Last Edited by on Apr 13, 2010 11:01 AM
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Tuckster
475 posts
Apr 13, 2010
11:23 AM
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I don't remember mentioning anything about buying a mic. I have enough mics,although if I needed one,Greg would be at the top of my list.
As far as unbalancing a low Z mic,you lose half the signal. You can't get something for nothing.I think the only reason it works at all is because of the 10X rule.
And don't teach your grandmother to suck eggs. I may be old and rusty,but I didn't forgot my basic electronics.
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congaron
817 posts
Apr 13, 2010
1:52 PM
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No, you don't lose half the signal. The impedance is NOT affected by removing the shield.
It only takes two conductors. The reactance isn't changed enough in the short lengths we're talking about to matter. Put a meter on a low Z mic...rewire it to unbalanced and see for yourself. Put those electronic skills to use. Or talk into/push on a simple speaker and take a voltage reading...two wires.
I've been in the vocal mic using, repairing and building business off and on since the mid 90's. I run a PA system for money. Harp mics are just mics. Impedance and balancing are not the same thing...period. Go to the links and read up a little.
"Man,that's not very fair to the buyer to wire it up 1/4" sans transformer. Cheap for sure. You should find a big difference thru a proper vocal mic into the PA-i.e. XLR to XLR."
The preamp on a PA can easily be trimmed to compensate, since the 1/4 inch line inputs on a channel strip are not usually horrendously high impedance. Those mics work well for karaoke machines that are set up to accept them.
No need to get nasty. you're the one who asked. Suit yourself. I'm tired of the crap.
Last Edited by on Apr 13, 2010 2:10 PM
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toddlgreene
1201 posts
Apr 13, 2010
2:09 PM
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Whoa, time to sing Kum Ba Ya again...I'll build us a campfire from unsealed Marine Band combs.
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Todd L Greene. V.P.
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Rick Davis
281 posts
Apr 13, 2010
2:12 PM
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I'm with HarpNinja on this. The Audix impedance matching transformer is the one to get. I use it with my Shure SM57 and Bulletizer.
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-Rick Davis
Blues Harp Amps Blog
Roadhouse Joe Blues Band
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toddlgreene
1202 posts
Apr 13, 2010
2:15 PM
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Ditto Rick. If I were in the market(I've had mine for a long time), I'd go for that Audix pigtail-type.
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Todd L Greene. V.P.
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congaron
818 posts
Apr 13, 2010
2:28 PM
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It gets old when people just want to argue. I provided information. It is accurate information and the papers were written by professional sound people.
I got my wrist slapped like a 2 year old by ADAM yesterday while the rest of the forum says and does as it pleases, including all the posts directed at me in the thread where he did that.
Now I get told not to teach my grandmother to suck eggs..whatever that is supposed to mean.
Tuckster, you have already displayed a basic and common lack of understanding on the impedance/ balance question. I hope you feel better by lashing out at me.
I don't even cuss, for crying out loud. I have made it a point to do little more than correct misinformation in some of my posts on this site. There is a lot of it, even from the "recognized experts."
Many of the people here mistreat each other verbally and I don't see why it's necessary.
I have refrained from correcting grammar and spelling when people take a poke at me. And believe me, it's laughable sometimes.
I guess I'll let the "experts" have it. There isn't much here about playing the harmonica anymore. It's been interesting and I've tried to help people get sound on a budget. I have passed on real-world experience, free from agenda. Anybody who tries what i have recommended can take it or leave it.
Electricity, however, behaves the same way all the time. My point in making the "buy a mic from greg" Comment was that most people don't fully understand, or need to fully understand this issue. I agree with everything he said except the losing half of your signal when you unbalance a line. It simply doesn't work that way...nor does it even matter to the typical customer who will buy a mic and plug it into the amp they told Greg to match it to when they order it.
Last Edited by on Apr 13, 2010 2:33 PM
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Greg Heumann
393 posts
Apr 13, 2010
9:19 PM
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Congaron - I think we're on the same page, but just to be sure - what I said about losing half the signal was specific to using a typical high-Z XLR-to-1/4" cable (or adapter.) These take one of the 2 balanced leads and use ground for the return reference. In a balanced audio system I believe the signal goes as far below 0 volts as it goes above it. Thus ground is in the middle. Sort of like 220V wiring - use one side and neutral and you get 110V. I agree with you 100% that balanced vs. unbalanced wiring is independent of impedance. I only point out that the vast majority of mics a harp player will encounter (aside from $20 Radio Shack or Peavey ones) will be set up for balanced wiring if low impedance, and for unbalanced as high. If you rewire a low impedance mic for unbalanced operation, you will no longer only be getting half the signal. You will still have an impedance mismatch, however.
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/Greg
BlowsMeAway Productions
BlueState - my band
Bluestate on iTunes
Last Edited by on Apr 13, 2010 9:21 PM
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Kyzer Sosa
339 posts
Apr 13, 2010
9:22 PM
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so i need one for use with my 57 and an amp, regardless of the size quality make model etc.. as the explanation for the PA is clear to me..
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Kyzer's Travels
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MrVerylongusername
1065 posts
Apr 13, 2010
11:38 PM
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@kyzer Sosa
Yes. Adapter with an amp; straight in to a mixing desk.
My only question on this whole thread - and I may have missed something - Why on earth would anyone want to unbalance a balanced mic? Was it just a theoretical/hypothetical thing or does someone actually want to do this?
Last Edited by on Apr 13, 2010 11:48 PM
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Kyzer Sosa
342 posts
Apr 14, 2010
12:42 AM
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i noticed the three prong on one end and the 1/4 on the other (on the transformer) i suppose ill have to pony up for a different cable too, as the cable i have wont work unless its 3 pronged on both ends. (sigh)
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Kyzer's Travels
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5F6H
65 posts
Apr 14, 2010
3:25 AM
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"Thanks. 5F6H--OT- I know your handle is some Fender circuit design. Where can I find info on what all those circuit codes mean. I see them being referred to all the time,but I have no idea what they really sound like."
1st digit seems to apply to decade, but not hard & fast, some 60's built amps have a 5 prefix, presumably because that's when they might have been designed rather than built.
Second identifier is model version - "B, C, D, E...sometimes revised with a 4th digit shortly after initial production with a "-A" or "-B" suffix at the end of the code. E.g. 5F6 becomes 5F6A. Some amps were updated more often than others, later letter codes were not always applied, despite changes taking place, so can't really be used to date amps, you still need tube chart & pot dates etc to do that.
3rd identifier is the model type: 1= Champ, 2= Princeton, 3=Delux, 4=Super, 5=Pro, 6=Bassman, 7=Bandmaster, 8=Twin, etc...
5F6H is a corruption of 5F6A, just with the A switched to an "H" for...well, I'm sure you can guess? :-)
In 63/64 it all changed with the AA & AB codes.
As to the sounds, typically the earlier amps (#B# and #C# have the lowest headroom & fidelity, the #F#A tweeds had best headroom & fidelity...with the #E#s somewhere in between (some models never progressed beyond the #E# stage. The #G#s were typically more scooped in the mids, tolex amps, the forerunners of the blackface amps.
There are great sounding amps from all periods, but the larger #E#, and especially #F#(A) & #G#(A) seem most popular with harp players for stage use.
www.schematicheaven has all the schems.
Sorry for going a little OT.
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Tuckster
476 posts
Apr 14, 2010
7:25 AM
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Thank you! That solves the mystery of what all those numbers & letters mean. Sorry for steering this thread OT,but my curiosity got the better of me.I can now pursue the rest of my questions off post and quit boring you all.
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Greg Heumann
394 posts
Apr 14, 2010
9:50 AM
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Kyzer said "i noticed the three prong on one end and the 1/4 on the other (on the transformer) i suppose ill have to pony up for a different cable too, as the cable i have wont work unless its 3 pronged on both ends. (sigh)"
If you REALLY want to use your XLR-to-1/4" cable, I DO make custom adapters that go at the mic end and do the transformation there. However that's a more expensive solution and makes the mic longer and heavier.
I recommend the standard approach. Perfectly good XLR cables and impedance matching transformers are available at any music store for very reasonable prices. These impedance matching transformers go at the AMP end of the cable. You use a standard XLR-to-XLR cable, plug the IMT in at the amp end and then plug that into your amp.
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/Greg
BlowsMeAway Productions
BlueState - my band
Bluestate on iTunes
Last Edited by on Apr 14, 2010 9:52 AM
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congaron
820 posts
Apr 14, 2010
8:19 PM
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Just to clarify, balanced INPUTS are required for balanced line signal to receive a 6db level increase from the inversion (or re-inversion, if you will) of the signals to combine them AT THE INPUT stage of the amplifier..like in a PA mixer.
An unbalanced line is an AC signal too, but is not re-inverted and combined at the input. The lack of a ground and two discrete inverted canceling signals (until they are re-inverted at the input)is the reason phantom power is ignored by a balanced line, but an unbalanced mic will burn out from it.
Unless your guitar amp has a balanced input (not common), the 6db signal advantage is not available and therefore is not lost when converting a three wire system to two wires..unbalanced.
The output of the device is not affected by using two signal wires versus three, it is simply not boosted by phase inversion and recombining at the input end when received by an unbalanced input.
Old mics with multiple taps for different impedance selection should still only need two wires to get effectively into a guitar amp. The separate shield was for balanced use on a radio or pa rig, where the receiving equipment did the inversion and combining.
so, converting a low z mic on an xlr cable to 1/4 inch two conductor works, but your impedance mismatch remains like Greg said.
The high impedance inputs of a guitar amp are what make the transformer desirable when using a typical low to medium Z vocal mic. Those inputs are unbalanced anyway, so the mic still works fine even with a simple adaptor and no impedance conversion (if a little brittle sounding...not due to low output but due to impedance mismatch.)
The older valve juniors actually have a lower impedance input than the version 3. They work fairly well with a regular vocal mic, or 600 ohm radio mic, but better with the transformer.
For audio signals being sent into higher impedance loads (generic signals here..anything lower than the input impedance...the way it's all done, From guitars to tape recorders):
1. Signal loss is similar (for hundreds of feet actually) for balanced and unbalanced lines of the same gauge.
2. Interference and frequency response issues take over after about 10-25 feet, depending on the environment. Balanced has the edge here.
I often wonder if this is actually part of the "chicago sound" we are used to hearing with high impedance classic mics.
Last Edited by on Apr 14, 2010 8:22 PM
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MakaInOz
7 posts
Apr 14, 2010
8:32 PM
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I've got a rat tail transformer (similar to HarpNinja's Audix) with XLR input and 1/4" (m) output. It's switchable as well. I use some LoZ mics with 1/4" jacks and cables (so I'm a heretic!) as well as some with XLR jacks and cables. I bought an adaptor for the rat tail transformer so that I can use a 1/4" or XLR cables from LoZ mics and bump them to HiZ as input for my RP350 pedal.
My local 'teenage entrepeneur with a music shop in the parent's garage' sells all sorts of adaptors to change XLR to 1/4" and m to f and vice versa. Most of them are only a few bucks. Regardless of the jack/plug/cable your mic uses, you get much better results using a transformer to get your LoZ mics to HiZ for devices expecting a HiZ input (nearly all guitar amps and many pedals).
Cheers
Maka
Last Edited by on Apr 14, 2010 8:33 PM
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congaron
822 posts
Apr 14, 2010
8:35 PM
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Agreed. i actually prefer a wireless rig with the receiver at the pedal and a cord to the amp from the pedal.
Last Edited by on Apr 14, 2010 8:35 PM
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congaron
823 posts
Apr 14, 2010
9:15 PM
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"My only question on this whole thread - and I may have missed something - Why on earth would anyone want to unbalance a balanced mic? Was it just a theoretical/hypothetical thing or does someone actually want to do this? "
I purposely wired an unbalanced line with an xlr connector to a 1/8" plug to use my samson vocal mic with a singing machine body pack. It has more that adequate range for our stage work and the quality of sound is very good..it was a $20 experiment that blew me away. You could use a pro vocal mic on a camcorder or computer soundcard, with a blocking capacitor to block the electret powering voltage. I also have an unbalanced connector with a blocking capacitor to run my samson mic on a radio shack body pack designed to run an electret lavelier mic. Another great performing alternative for wireless harp, but maybe a little complex for an average guy with no mic building experience. I also did it to test the effect of all the possible variations with my new valve junior head.
The possibilities are many, generally someone wanting the higher audio quality of a pro mic using a homeowner/hobbyist grade device.
Some cheaper karaoke machines use a mic wired this way as well..you could upgrade to a pro mic with an adapter, although those are often 600 ohm mics and a shure would be much lower than that...it would still work, with unknown results until you tried it.
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Kyzer Sosa
408 posts
Apr 19, 2010
1:58 PM
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so do you think i should get this device if im playing out of the crappiest amp possible to play out of? its a fender frontman 15. theyre sold as practice amps in a set that comes as a guitar and amp combo for a few hundred dollars. i cant imagine a cheaper amp made by fender. is it gonna make a difference?
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Kyzer's Travels
Kyzer's Artwork
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Rick Davis
307 posts
Apr 19, 2010
3:04 PM
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Kyzer, I saw Clay Kirkland play harp through a Fender Frontman 15 at the IBC here in Denver, and it was one of the best harp tones I'd ever heard.
I wrote about it at my harp amp blog: HERE
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-Rick Davis
Blues Harp Amps Blog
Roadhouse Joe Blues Band
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